But the tears still flowed from Corona's eyes in the dark corner of the church, and she could not be comforted.
"Padre mio," she repeated, "I am very unhappy. I have not a friend in the world to whom I can speak. I have never seen my life before as I see it now. God forgive me, I have never loved my husband. I never knew what it meant to love. I was a mere child, a very innocent child, when I was married to him. I would have sought your advice, but they told me you were away, and I thought I was doing right in obeying my father."
Padre Filippo sighed. He had long known and understood why Corona had not been allowed to come to him at the most important moment of her life.
"My husband is very kind to me," she continued in broken tones. "He loves me in his way, but I do not love him. That of itself is a great sin. It seems to me as though I saw but one half of life, and saw it from the window of a prison; and yet I am not imprisoned. I would that I were, for I should never have seen another man. I should never have heard his voice, nor seen his face, nor—nor loved him, as I do love him," she sobbed.
"Hush, my daughter," said the old monk, very gently. "You told me you had never spoken of love; that you were interested in him, indeed, but that you did not know—"
"I know—I know now," cried Corona, losing all control as the passionate tears flowed down. "I could not say it—it seemed so dreadful—I love him with my whole self! I can never get it out—it burns me. O God, I am so wretched!"
Padre Filippo was silent for a while. It was a terrible case. He could not remember in all his experience to have known one more sad to contemplate, though his business was with the sins and the sorrows of the world. The beautiful woman kneeling outside his confessional was innocent—as innocent as a child, brave and faithful. She had sacrificed her whole life for her father, who had been little worthy of such devotion; she had borne for years the suffering of being tied to an old man whom she could not help despising, however honestly she tried to conceal the fact from herself, however effectually she hid it from others. It was a wonder the disaster had not occurred before: it showed how loyal and true a woman she was, that, living in the very centre and midst of the world, admired and assailed by many, she should never in five years have so much as thought of any man beside her husband. A woman made for love and happiness, in the glory of beauty and youth, capable of such unfaltering determination in her loyalty, so good, so noble, so generous,—it seemed unspeakably pathetic to hear her weeping her heart out, and confessing that, after so many struggles and efforts and sacrifices, she had at last met the common fate of all humanity, and was become subject to love. What might have been her happiness was turned to dishonour; what should have been the pride of her young life was made a reproach.
She would not fall. The grey-haired monk believed that, in his great knowledge of mankind. But she would suffer terribly, and it might be that others would suffer also. It was the consequence of an irretrievable error in the beginning, when it had seemed to the young girl just leaving the convent that the best protection against the world of evil into which she was to go would be the unconditional sacrifice of herself.
Padre Filippo was silent. He hoped that the passionate outburst of grief and self-reproach would pass, though he himself could find little enough to say. It was all too natural. What was he, he thought, that he should explain away nature, and bid a friendless woman defy a power that has more than once overset the reckoning of the world? He could bid her pray for help and strength, but he found it hard to argue the case with her; for he had to allow that his beautiful penitent was, after all, only experiencing what it might have been foretold that she must feel, and that, as far as he could see, she was struggling bravely against the dangers of her situation.
Corona cried bitterly as she knelt there. It was a great relief to give way for a time to the whole violence of what she felt. It may be that in her tears there was a subtle instinctive knowledge that she was weeping for her love as well as for her sin in loving, but her grief was none the less real. She did not understand herself. She did not know, as Padre Filippo knew, that her woman's heart was breaking for sympathy rather than for religious counsel. She knew many women, but her noble pride would not have let her even contemplate the possibility of confiding in any one of them, even if she could have done so in the certainty of not being herself betrayed and of not betraying the man she loved. She had been accustomed to come to her confessor for counsel, and she now came to him with her troubles and craved sympathy for them, in the knowledge that Padre Filippo could never know the name of the man who had disturbed her peace.
But the monk understood well enough, and his kind heart comprehended hers and felt for her.
"My daughter," he said at last, when she seemed to have grown more calm, "it would be an inestimable advantage if this man could go away for a time, but that is probably not to be expected. Meanwhile, you must not listen to him if he speaks—"
"It is not that," interrupted Corona—"it is not that. He never speaks of love. Oh, I really believe he does not love me at all!" But in her heart she felt that he must love her; and her hand, as it lay upon the hard wood of the confessional, seemed still to feel his trembling arm.
"That is so much the better, my child," said the monk, quietly. "For if he does not love you, your temptations will not grow stronger."
"And yet, perhaps—he may—" murmured Corona, feeling that it would be wrong even to conceal her faintest suspicions at such a time.
"Let there be no perhaps," answered Padre Filippo, almost sternly. "Let it never enter your mind that he might love you. Think that even from the worldly point there is small dignity in a woman who exhibits love for a man who has never mentioned love to her. You have no reason to suppose you are loved save that you desire to be. Let there be no perhaps."
The monk's keen insight into character had given him an unexpected weapon in Corona's defence. He knew how of all things a proud woman hates to know that where she has placed her heart there is no response, and that if she fails to awaken an affection akin to her own, what has been love may be turned to loathing, or at least to indifference. The strong character of the Duchessa d'Astrardente responded to his touch as he expected. Her tears ceased to flow, and her scorn rose haughtily against herself.
"It is true. I am despicable," she said, suddenly. "You have shown me myself. There shall be no perhaps. I loathe myself for thinking of it. Pray for me, lest I fall so low again."
A few minutes later Corona left the confessional and went and kneeled in the body of the church to collect her thoughts. She was in a very different frame of mind from that in which she had left home an hour ago. She hardly knew whether she felt herself a better woman, but she was sure that she was stronger. There was no desire left in her to meditate sadly upon her sorrow—to go over and over in her thoughts the feelings she experienced, the fears she felt, the half-formulated hope that Giovanni might love her after all. There was left only a haughty determination to have done with her folly quickly and surely, and to try and forget it for ever. The confessor's words had produced their effect. Henceforth she would never stoop so low again. She was ready to go out into the world now, and she felt no fear. It was more from habit than for the sake of saying a prayer that she knelt in the church after her confession, for she felt very strong. She rose to her feet presently, and moved towards the door: she had not gone half the length of the church when she came face to face with Donna Tullia Mayer.
It was a strange coincidence. The ladies of Rome frequently go to the church of the Capuchins, as Corona had done, to seek the aid and counsel of Padre Filippo, but Corona had never met Donna Tullia there. Madame Mayer did not profess to be very devout. As a matter of fact, she had not found it convenient to go to confession during the Christmas season, and she had been intending to make up for the deficiency for some time past; but it is improbable that she would have decided upon fulfilling her religious obligations before Lent if she had not chanced to see the Duchessa d'Astrardente's carriage standing at the foot of the church steps.
Donna Tullia had risen early because she was going to sit for her portrait to a young artist who lived in the neighbourhood of the Piazza Barberini, and as she passed in her brougham she caught sight of the Duchessa's liveries. The artist could wait half an hour: the opportunity was admirable. She was alone, and would not only do her duty in going to confession, but would have a chance of seeing how Corona looked when she had been at her devotions. It might also be possible to judge from Padre Filippo's manner whether the interview had been an interesting one. The Astrardente was so very devout that she probably had difficulty in inventing sins to confess. One might perhaps tell from her face whether she had felt any emotion. At all events the opportunity should not be lost. Besides, if Donna Tullia found that she herself was really not in a proper frame of mind for religious exercises, she could easily spend a few moments in the church and then proceed upon her way. She stopped her carriage and went in. She had just entered when she was aware of the tall figure of Corona d'Astrardente coming towards her, magnificent in the simplicity of her furs, a short veil just covering half her face, and an unwonted colour in her dark cheeks.
Corona was surprised at meeting Madame Mayer, but she did not show it. She nodded with a sufficiently pleasant smile, and would have passed on. This would not have suited Donna Tullia's intentions, however, for she meant to have a good look at her friend. It was not for nothing that she had made up her mind to go to confession at a moment's notice. She therefore stopped the Duchessa, and insisted upon shaking hands.
"What an extraordinary coincidence!" she exclaimed. "You must have been to see Padre Filippo too?"
"Yes," answered Corona. "You will find him in the sacristy." She noticed that Madame Mayer regarded her with great interest. Indeed she could hardly be aware how unlike her usual self she appeared. There were dark rings beneath her eyes, and her eyes themselves seemed to emit a strange light; while an unwonted colour illuminated her olive cheeks, and her voice had a curiously excited tone. Madame Mayer stared at her so hard that she noticed it.
"Why do you look at me like that?" asked the Duchessa, with a smile.
"I was wondering what in the world you could find to confess," replied Donna Tullia, sweetly. "You are so immensely good, you see; everybody wonders at you."
Corona's eyes flashed darkly. She suspected that Madame Mayer noticed something unusual in her appearance, and had made the awkward speech to conceal her curiosity. She was annoyed at the meeting, still more at being detained in conversation within the church.
"It is very kind of you to invest me with such virtues," she answered. "I assure you I am not half so good as you suppose. Good-bye—I must be going home."
"Stay!" exclaimed Donna Tullia; "I can go to confession another time. Will not you come with me to Gouache's studio? I am going to sit. It is such a bore to go alone."
"Thank you very much," said Corona, civilly. "I am afraid I cannot go. My husband expects me at home. I wish you a good sitting."
"Well, good-bye. Oh, I forgot to tell you, we had such a charming picnic yesterday. It was so fortunate—the only fine day this week. Giovanni was very amusing: he was completelyen train, and kept us laughing the whole day. Good-bye; I do so wish you had come."
"I was very sorry," answered Corona, quietly, "but it was impossible. I am glad you all enjoyed it so much. Good-bye."
So they parted.
"How she wishes that same husband of hers would follow the example of my excellent old Mayer, of blessed memory, and take himself out of the world to-day or to-morrow!" thought Donna Tullia, as she walked up the church.
She was sure something unusual had occurred, and she longed to fathom the mystery. But she was not altogether a bad woman, and when she had collected her thoughts she made up her mind that even by the utmost stretch of moral indulgence, she could not consider herself in a proper state to undertake so serious a matter as confession. She therefore waited a few minutes, to give time for Corona to drive away, and then turned back. She cautiously pushed aside the curtain and looked out. The Astrardente carriage was just disappearing in the distance. Donna Tullia descended the steps, got into her brougham, and proceeded to the studio of Monsieur Anastase Gouache, the portrait-painter. She had not accomplished much, save to rouse her curiosity, and that parting thrust concerning Don Giovanni had been rather ill-timed.
She drove to the door of the studio and found Del Ferice waiting for her as usual. If Corona had accompanied her, she would have expressed astonishment at finding him; but, as a matter of fact, Ugo always met her there, and helped to pass the time while she was sitting. He was very amusing, and not altogether unsympathetic to her; and moreover, he professed for her the most profound devotion—genuine, perhaps, and certainly skilfully expressed. If any one had paid much attention to Del Fence's doings, it would have been said that he was paying court to the rich young widow. But he was never looked upon by society from the point of view of matrimonial possibility, and no one thought of attaching any importance to his doings. Nevertheless Ugo, who had been gradually rising in the social scale for many years, saw no reason why he should not win the hand of Donna Tullia as well as any one else, if only Giovanni Saracinesca could be kept out of the way; and he devoted himself with becoming assiduity to the service of the widow, while doing his utmost to promote Giovanni's attachment for the Astrardente, which he had been the first to discover. Donna Tullia would probably have laughed to scorn the idea that Del Ferice could think of himself seriously as a suitor, but of all her admirers she found him the most constant and the most convenient.
"What are the news this morning?" she asked, as he opened her carriage-door for her before the studio.
"None, save that I am your faithful slave as ever," he answered.
"I have just seen the Astrardente," said Donna Tullia, still sitting in her seat. "I will let you guess where it was that we met."
"You met in the church of the Capuchins," replied Del Ferice promptly, with a smile of satisfaction.
"You are a sorcerer: how did you know? Did you guess it?"
"If you will look down this street from where I stand, you will perceive that I could distinctly see any carriage which turned out of the Piazza Barberini towards the Capuchins," replied Ugo. "She was there nearly an hour, and you only stayed five minutes."
"How dreadful it is to be watched like this!" exclaimed Donna Tullia, with a little laugh, half expressive of satisfaction and half of amusement at Del Fence's devotion.
"How can I help watching you, as the earth watches the sun in its daily course?" said Ugo, with a sentimental intonation of his soft persuasive voice. Donna Tullia looked at his smooth face, and laughed again, half kindly.
"The Astrardente had been confessing her sins," she remarked.
"Again? She is always confessing."
"What do you suppose she finds to say?" asked Donna Tullia.
"That her husband is hideous, and that you are beautiful," answered DelFerice, readily enough.
"Why?"
"Because she hates her husband and hates you."
"Why, again?"
"Because you took Giovanni Saracinesca to your picnic yesterday; because you are always taking him away from her. For the matter of that, I hate him as much as the Astrardente hates you," added Del Ferice, with an agreeable smile. Donna Tullia did not despise flattery, but Ugo made her thoughtful.
"Do you think she really cares—?" she asked.
"As surely as that he does not," replied Del Ferice.
"It would be strange," said Donna Tullia, meditatively. "I would like to know if it is true."
"You have only to watch them."
"Surely Giovanni cares more than she does," objected Madame Mayer."Everybody says he loves her; nobody says she loves him."
"All the more reason. Popular report is always mistaken—except in regard to you."
"To me?"
"Since it ascribes to you so much that is good, it cannot be wrong," replied Del Ferice.
Donna Tullia laughed, and took his hand to descend from her carriage.
Monsieur Gouache's studio was on the second floor. The narrow flight of steps ended abruptly against a green door, perforated by a slit for the insertion of letters, by a shabby green cord which, being pulled, rang a feeble bell, and adorned by a visiting-card, whereon with many superfluous flourishes and ornaments of caligraphy was inscribed the name of the artist—ANASTASE GOUACHE.
The door being opened by a string, Donna Tullia and Del Ferice entered, and mounting half-a-dozen more steps, found themselves in the studio, a spacious room with a window high above the floor, half shaded by a curtain of grey cotton. In one corner an iron stove gave out loud cracking sounds, pleasant to hear on the damp winter's morning, and the flame shone red through chinks of the rusty door. A dark-green carpet in passably good condition covered the floor; three or four broad divans, spread with oriental rugs, and two very much dilapidated carved chairs with leathern seats, constituted the furniture; the walls were hung with sketches of heads and figures; half-finished portraits stood upon two easels, and others were leaning together in a corner; a couple of small tables were covered with colour-tubes, brushes, and palette-knives; mingled odours of paint, varnish, and cigarette-smoke pervaded the air; and, lastly, upon a high stool before one of the easels, his sleeves turned up to the elbow, and his feet tucked in upon a rail beneath him, sat Anastase Gouache himself.
He was a man of not more than seven-and-twenty years, with delicate pale features, and an abundance of glossy black hair. A small and very much pointed moustache shaded his upper lip, and the extremities thereof rose short and perpendicular from the corners of his well-shaped mouth. His eyes were dark and singularly expressive, his forehead low and very broad; his hands were sufficiently nervous and well knit, but white as a woman's, and the fingers tapered delicately to the tips. He wore a brown velvet coat more or less daubed with paint, and his collar was low at the throat.
He sprang from his high stool as Donna Tullia and Del Ferice entered, his palette and mahl-stick in his hand, and made a most ceremonious bow; whereat Donna Tullia laughed gaily.
"Well, Gouache," she said familiarly, "what have you been doing?"
Anastase motioned to her to come before his canvas and contemplate the portrait of herself upon which he was working. It was undeniably good—a striking figure in full-length, life-size, and breathing with Donna Tullia's vitality, if also with something of her coarseness.
"Ah, my friend," remarked Del Ferice, "you will never be successful until you take my advice."
"I think it is very like," said Donna Tullia, thoughtfully.
"You are too modest," answered Del Ferice. "There is the foundation of likeness, but it lacks yet the soul."
"Oh, but that will come," returned Madame Mayer. Then turning to the artist, she added in a more doubtful voice, "Perhaps, as Del Ferice says, you might give it a little more expression—what shall I say?—more poetry."
Anastase Gouache smiled a fine smile. He was a man of immense talent; since he had won the Prix de Rome he had made great progress, and was already half famous with that young celebrity which young men easily mistake for fame itself. A new comet visible only through a good glass causes a deal of talk and speculation in the world; but unless it comes near enough to brush the earth with its tail, it is very soon forgotten. But Gouache seemed to understand this, and worked steadily on. When Madame Mayer expressed a wish for a little more poetry in her portrait, he smiled, well knowing that poetry was as far removed from her nature as dry champagne is different in quality from small beer.
"Yes," he said; "I know—I am only too conscious of that defect." As indeed he was—conscious of the defect of it in herself. But he had many reasons for not wishing to quarrel with Donna Tullia, and he swallowed his artistic convictions in a rash resolve to make her look like an inspired prophetess rather than displease her.
"If you will sit down, I will work upon the head," he said; and moving one of the old carved chairs into position for her, he adjusted the light and began to work without any further words. Del Ferice installed himself upon a divan whence he could see Donna Tullia and her portrait, and the sitting began. It might have continued for some time in a profound silence as far as the two men were concerned, but silence was not bearable for long to Donna Tullia.
"What were you and Saracinesca talking about yesterday?" she asked suddenly, looking towards Del Ferice.
"Politics," he answered, and was silent.
"Well?" inquired Madame Mayer, rather anxiously.
"I am sure you know his views as well as I," returned Del Ferice, rather gloomily. "He is stupid and prejudiced."
"Really?" ejaculated Gouache, with innocent surprise. "A little more towards me, Madame. Thank you—so." And he continued painting.
"You are absurd, Del Ferice!" exclaimed Donna Tullia, colouring a little."You think every one prejudiced and stupid who does not agree with you."
"With me? With you, with us, you should say. Giovanni is a specimen of the furious Conservative, who hates change and has a cold chill at the word 'republic' Do you call that intelligent?"
"Giovanni is intelligent for all that," answered Madame Mayer. "I am not sure that he is not more intelligent than you—in some ways," she added, after allowing her rebuke to take effect.
Del Ferice smiled blandly. It was not his business to show that he was hurt.
"In one thing he is stupid compared with me," he replied. "He is very far from doing justice to your charms. It must be a singular lack of intelligence which prevents him from seeing that you are as beautiful as you are charming. Is it not so, Gouache?"
"Does any one deny it?" asked the Frenchman, with an air of devotion.
Madame Mayer blushed with annoyance; both because she coveted Giovanni's admiration more than that of other men, and knew that she had not won it, and because she hated to feel that Del Ferice was able to wound her so easily. To cover her discomfiture she returned to the subject of politics.
"We talk a great deal of our convictions," she said; "but in the meanwhile we must acknowledge that we have accomplished nothing at all. What is the good of our meeting here two or three times a-week, meeting in society, whispering together, corresponding in cipher, and doing all manner of things, when everything goes on just the same as before?"
"Better give it up and join Don Giovanni and his party," returned Del Ferice, with a sneer. "He says if a change comes he will make the best of it. Of course, we could not do better."
"With us it is so easy," said Gouache, thoughtfully. "A handful of students, a few paving-stones, 'Vive la République!' and we have a tumult in no time."
That was not the kind of revolution in which Del Ferice proposed to have a hand. He meditated playing a very small part in some great movement; and when the fighting should be over, he meant to exaggerate the part he had played, and claim a substantial reward. For a good title and twenty thousand francs a-year he would have become as stanch for the temporal power as any canon of St. Peter's. When he had begun talking of revolutions to Madame Mayer and to half-a-dozen harebrained youths, of whom Gouache the painter was one, he had not really the slightest idea of accomplishing anything. He took advantage of the prevailing excitement in order to draw Donna Tullia into a closer confidence than he could otherwise have aspired to obtain. He wanted to marry her, and every new power he could obtain over her was a step towards his goal. Neither she nor her friends were of the stuff required for revolutionary work; but Del Ferice had hopes that, by means of the knot of malcontents he was gradually drawing together, he might ruin Giovanni Saracinesca, and get the hand of Donna Tullia in marriage. He himself was indeed deeply implicated in the plots of the Italian party; but he was only employed as a spy, and in reality knew no more of the real intentions of those he served than did Donna Tullia herself. But the position was sufficiently lucrative; so much so that he had been obliged to account for his accession of fortune by saying that an uncle of his had died and left him money.
"If you expected Don Giovanni to join a mob of students in tearing up paving-stones and screaming 'Vive la République!' I am not surprised that you are disappointed in your expectations," said Donna Tullia, rather scornfully.
"That is only Gouache's idea of a popular movement," answered Del Ferice.
"And yours," returned Anastase, lowering his mahl-stick and brushes, and turning sharply upon the Italian—"yours would be to begin by stabbing Cardinal Antonelli in the back."
"You mistake me, my friend," returned Del Ferice, blandly. "If you volunteered to perform that service to Italy, I would certainly not dissuade you. But I would certainly not offer you my assistance."
"Fie! How can you talk like that of murder!" exclaimed Donna Tullia. "Go on with your painting, Gouache, and do not be ridiculous."
"The question of tyrannicide is marvellously interesting," answered Anastase in a meditative tone, as he resumed his work, and glanced critically from Madame Mayer to his canvas and back again.
"It belongs to a class of actions at which Del Ferice rejoices, but in which he desires no part," said Donna Tullia.
"It seems to me wiser to contemplate accomplishing the good result without any unnecessary and treacherous bloodshed," answered Del Ferice, sententiously. Again Gouache smiled in his delicate satirical fashion, and glanced at Madame Mayer, who burst into a laugh.
"Moral reflections never sound so especially and ridiculously moral as in your mouth, Ugo," she said.
"Why?" he asked, in an injured tone.
"I am sure I do not know. Of course, we all would like to see Victor Emmanuel in the Quirinal, and Rome the capital of a free Italy. Of course we would all like to see it accomplished without murder or bloodshed; but somehow, when you put it into words, it sounds very absurd."
In her brutal fashion Madame Mayer had hit upon a great truth, and Del Ferice was very much annoyed. He knew himself to be a scoundrel; he knew Madame Mayer to be a woman of very commonplace intellect; he wondered why he was not able to deceive her more effectually. He was often able to direct her, he sometimes elicited from her some expression of admiration at his astuteness; but in spite of his best efforts, she saw through him and understood him better than he liked.
"I am sorry," he said, "that what is honourable should sound ridiculous when it comes from me. I like to think sometimes that you believe in me."
"Oh, I do," protested Donna Tullia, with a sudden change of manner. "I was only laughing. I think you are really in earnest. Only, you know, nowadays, it is not the fashion to utter moralities in a severe tone, with an air of conviction. A little dash of cynicism—you know, a sort of half sneer—is so much morechic; it gives a much higher idea of the morality, because it conveys the impression that it is utterly beyond you. Ask Gouache—"
"By all means," said the artist, squeezing a little more red from the tube upon his palette, "one should always sneer at what one cannot reach. The fox, you remember, called the grapes sour. He was probably right, for he is the most intelligent of animals."
"I would like to hear what Giovanni had to say about those grapes," remarked Donna Tullia.
"Oh, he sneered in the most fashionable way," answered Del Ferice. "He would have pleased you immensely. He said that he would be ruined by a change of government, and that he thought it his duty to fight against it. He talked a great deal about the level of the Tiber, and landed property, and the duties of gentlemen. And he ended by saying he would make the best of any change that happened to come about, like a thoroughgoing egotist, as he is!"
"I would like to hear what you think of Don Giovanni Saracinesca," saidGouache; "and then I would like to hear what he thinks of you."
"I can tell you both," answered Del Fence. "I think of him that he is a thorough aristocrat, full of prejudices and money, unwilling to sacrifice his convictions to his wealth or his wealth to his convictions, intelligent in regard to his own interests and blind to those of others, imbued with a thousand and one curious feudal notions, and overcome with a sense of his own importance."
"And what does he think of you?" asked Anastase, working busily.
"Oh, it is very simple," returned Del Ferice, with a laugh. "He thinks I am a great scoundrel."
"Really! How strange! I should not have said that."
"What? That Del Fence is a scoundrel?" asked Donna Tullia, laughing.
"No; I should not have said it," repeated Anastase, thoughtfully. "I should say that our friend Del Ferice is a man of the most profound philanthropic convictions, nobly devoting his life to the pursuit of liberty, fraternity, and equality."
"Do you really think so?" asked Donna Tullia, with a half-comic glance atUgo, who looked uncommonly grave.
"Madame," returned Gouache, "I never permit myself to think otherwise of any of my friends."
"Upon my word," remarked Del Fence, "I am delighted at the compliment, my dear fellow; but I must infer that your judgment of your friends is singularly limited."
"Perhaps," answered Gouache. "But the number of my friends is not large, and I myself am very enthusiastic. I look forward to the day when 'liberty, equality, and fraternity' shall be inscribed in letters of flame, in the most expensive Bengal lights if you please, over theporte cochèreof every palace in Rome, not to mention the churches. I look forward to that day, but I have not the slightest expectation of ever seeing it. Moreover, if it ever comes, I will pack up my palette and brushes and go somewhere else by the nearest route."
"Good heavens, Gouache!" exclaimed Donna Tullia; "how can you talk like that? It is really dreadfully irreverent to jest about our most sacred convictions, or to say that we desire to see those words written over the doors of our churches!"
"I am not jesting. I worship Victor Hugo. I love to dream of the universal republic—it has immense artistic attractions—the fierce yelling crowd, the savage faces, the red caps, the terrible mænad women urging the brawny ruffians on to shed more blood, the lurid light of burning churches, the pale and trembling victims dragged beneath the poised knife,—ah, it is superb, it has stupendous artistic capabilities! But for myself—bah! I am a good Catholic—I wish nobody any harm, for life is very gay after all."
At this remarkable exposition of Anastase Gouache's views in regard to the utility of revolutions, Del Ferice laughed loudly; but Anastase remained perfectly grave, for he was perfectly sincere. Del Ferice, to whom the daily whispered talk of revolution in Donna Tullia's circle was mere child's play, was utterly indifferent, and suffered himself to be amused by the young artist's vagaries. But Donna Tullia, who longed to see herself the centre of a real plot, thought that she was being laughed at, and pouted her red lips and frowned her displeasure.
"I believe you have no convictions!" she said angrily. "While we are risking our lives and fortunes for the good cause, you sit here in your studio dreaming of barricades and guillotines, merely as subjects for pictures—you even acknowledge that in case we produce a revolution you would go away."
"Not without finishing this portrait," returned Anastase, quite unmoved. "It is an exceedingly good likeness; and in case you should ever disappear—you know people sometimes do in revolutions—or if by any unlucky accident your beautiful neck should chance beneath that guillotine you just mentioned,—why, then, this canvas would be the most delightful souvenir of many pleasant mornings, would it not?"
"You are incorrigible," said Donna Tullia, with a slight laugh. "You cannot be serious for a moment."
"It is very hard to paint you when your expression changes so often," replied Anastase, calmly.
"I am not in a good humour for sitting to you this morning. I wish you would amuse me, Del Ferice. You generally can."
"I thought politics amused you—"
"They interest me. But Gouache's ideas are detestable."
"Will you not give us some of your own, Madame?" inquired the painter, stepping back from his canvas to get a better view of his work.
"Oh, mine are very simple," answered Donna Tullia. "Victor Emmanuel,Garibaldi, and a free press."
"A combination of monarchy, republicanism, and popular education—not very interesting," remarked Gouache, still eyeing his picture.
"No; there would be nothing for you to paint, except portraits of the liberators—"
"There is a great deal of that done. I have seen them in every café in the north of Italy," interrupted the artist. "I would like to paint Garibaldi. He has a fine head."
"I will ask him to sit to you when he comes here."
"When he comes I shall be here no longer," answered Gouache. "They will whitewash the Corso, they will make a restaurant of the Colosseum, and they will hoist the Italian flag on the cross of St. Peter's. Then I will go to Constantinople; there will still be some years before Turkey is modernised."
"Artists are hopeless people," said Del Ferice. "They are utterly illogical, and it is impossible to deal with them. If you like old cities, why do you not like old women? Why would you not rather paint Donna Tullia's old Countess than Donna Tullia herself?"
"That is precisely the opposite case," replied Anastase, quietly. "The works of man are never so beautiful as when they are falling to decay; the works of God are most beautiful when they are young. You might as well say that because wine improves with age, therefore horses do likewise. The faculty of comparison is lacking in your mind, my dear Del Ferice, as it is generally lacking in the minds of true patriots. Great reforms and great revolutions are generally brought about by people of fierce and desperate convictions, like yours, who go to extreme lengths, and never know when to stop. The quintessence of an artist's talent is precisely that faculty of comparison, that gift of knowing when the thing he is doing corresponds as nearly as he can make it with the thing he has imagined."
There was no tinge of sarcasm in Gouache's voice as he imputed to Del Ferice the savage enthusiasm of a revolutionist. But when Gouache, who was by no means calm by nature, said anything in a particularly gentle tone, there was generally a sting in it, and Del Ferice reflected upon the mean traffic in stolen information by which he got his livelihood, and was ashamed. Somehow, too, Donna Tullia felt that the part she fancied herself playing was contemptible enough when compared with the hard work, the earnest purpose, and the remarkable talent of the young artist. But though she felt her inferiority, she would have died rather than own it, even to Del Ferice. She knew that for months she had talked with Del Ferice, with Valdarno, with Casalverde, even with the melancholy and ironical Spicca, concerning conspiracies and deeds of darkness of all kinds, and she knew that she and they might go on talking for ever in the same strain without producing the smallest effect on events; but she never to the very end relinquished the illusion she cherished so dearly, that she was really and truly a conspirator, and that if any one of her light-headed acquaintance betrayed the rest, they might all be ordered out of Rome in four-and-twenty hours, or might even disappear into that long range of dark buildings to the left of the colonnade of St. Peter's, martyrs to the cause of their own self-importance and semi-theatrical vanity. There were many knots of such self-fancied conspirators in those days, whose wildest deed of daring was to whisper across a glass of champagne in a ball-room, or over a tumbler of Velletri wine in a Trasteverine cellar, the magic and awe-inspiring words, "Viva Garibaldi! Viva Vittorio!" They accomplished nothing. The same men and women are now grumbling and regretting the flesh-pots of the old Government, or whispering in impotent discontent "Viva la Repubblica!" and they and their descendants will go on whispering something to each other to the end of time, while mightier hands than theirs are tearing down empires and building up irresistible coalitions, and drawing red pencil-marks through the geography of Europe.
The conspirators of those days accomplished nothing after Pius IX. returned from Gaeta; the only men who were of any use at all were those who, like Del Ferice, had sources of secret information, and basely sold their scraps of news. But even they were of small importance. The moment had not come, and all the talking and whispering and tale-bearing in the world could not hasten events, nor change their course. But Donna Tullia was puffed up with a sense of her importance, and Del Ferice managed to attract just as much attention to his harmless chatter about progress as would permit him undisturbed to carry on his lucrative traffic in secret information.
Donna Tullia, who was not in the least artistic, and who by no means appreciated the merits of the portrait Gouache was painting, was very far from comprehending his definition of artistic comparison; but Del Ferice understood it very well. Donna Tullia had much foreign blood in her veins, like most of her class; but Del Ferice's obscure descent was in all probability purely Italian, and he had inherited the common instinct in matters of art which is a part of the Italian birthright. He had recognised Gouache's wonderful talent, and had first brought Donna Tullia to his studio—a matter of little difficulty when she had learned that the young artist had already a reputation. It pleased her to fancy that by telling him to paint her portrait she might pose as his patroness, and hereafter reap the reputation of having influenced his career. For fashion, and the desire to be the representative of fashion, led Donna Tullia hither and thither as a lapdog is led by a string; and there is nothing more in the fashion than to patronise a fashionable portrait-painter.
But after Anastase Gouache had thus delivered himself of his views upon Del Ferice and the faculty of artistic comparison, the conversation languished, and Donna Tullia grew restless. "She had sat enough," she said; and as her expression was not favourable to the portrait, Anastase did not contradict her, but presently suffered her to depart in peace with her devoted adorer at her heels. And when they were gone, Anastase lighted a cigarette, and took a piece of charcoal and sketched a caricature of Donna Tullia in a liberty cap, in a fine theatrical attitude, invoking the aid of Del Ferice, who appeared as the Angel of Death, with the guillotine in the background. Having put the finishing touches to this work of art, Anastase locked his studio and went to breakfast, humming an air from the "Belle Hélène."
When Corona reached home she went to her own small boudoir, with the intention of remaining there for an hour if she could do so without being disturbed. There was a prospect of this; for on inquiry she ascertained that her husband was not yet dressed, and his dressing took a very long time. He had a cosmopolitan valet, who alone of living men understood the art of fitting the artificial and the natural Astrardente together. Corona believed this man to be an accomplished scoundrel; but she never had any proof that he was anything worse than a very clever servant, thoroughly unscrupulous where his master's interests or his own were concerned. The old Duca believed in him sincerely and trusted him alone, feeling that since he could never be a hero in his valet's eyes, he might as well take advantage of that misfortune in order to gain a confident.
Corona found three or four letters upon her table, and sat down to read them, letting her fur mantle drop to the floor, and putting her small feet out towards the fire, for the pavement of the church had been cold.
She was destined to pass an eventful day, it seemed. One of the letters was from Giovanni Saracinesca. It was the first time he had ever written to her, and she was greatly surprised on finding his name at the foot of the page. He wrote a strong clear handwriting, entirely without adornment of penmanship, close and regular and straight: there was an air of determination about it which was sympathetic, and a conciseness of expression which startled Corona, as though she had heard the man himself speaking to her.
"I write, dear Duchessa, because I covet your good opinion, and my motive is therefore before all things an interested one. I would not have you think that I had idly asked your advice about a thing so important to me as my marriage, in order to discard your counsel at the first opportunity. There was too much reason in the view you took of the matter to admit of my not giving your opinion all the weight I could, even if I had not already determined upon the very course you advised. Circumstances have occurred, however, which have almost induced me to change my mind. I have had an interview with my father, who has put the matter very plainly before me. I hardly know how to tell you this, but I feel that I owe it to you to explain myself, however much you may despise me for what I am going to say. It is very simple, nevertheless. My father has informed me that by my conduct I have caused my name to be coupled in the mouth of the gossips with that of a person very dear to me, but whom I am unfortunately prevented from marrying. He has convinced me that I owe to this lady, who, I confess, takes no interest whatever in me, the only reparation possible to be made—that of taking a wife, and thus publicly demonstrating that there was never any truth in what has been said. As a marriage will probably be forced upon me some day, it is as well to let things take their course at once, in order that a step so disagreeable to myself may at least distantly profit one whom I love in removing me from the appearance of being a factor in her life. The gossip about me has never reached your ears, but if it should, you will be the better able to understand my position.
"Do not think, therefore, that if I do not follow your advice I am altogether inconsistent, or that I wantonly presumed to consult you without any intention of being guided by you. Forgive me also this letter, which I am impelled to write from somewhat mean motives of vanity, in the hope of not altogether forfeiting your opinion; and especially I beg you to believe that I am at all times the most obedient of your servants,
Of what use was it that she had that morning determined to forget Giovanni, since he had the power of thus bringing himself before her by means of a scrap of paper? Corona's hand closed upon the letter convulsively, and for a moment the room seemed to swim around her.
So there was some one whom he loved, some one for whose fair name he was willing to sacrifice himself even to the extent of marrying against his will. Some one, too, who not only did not love him, but took no interest whatever in him. Those were his own words, and they must be true, for he never lied. That accounted for his accompanying Donna Tullia to the picnic. He was going to marry her after all. To save the woman he loved so hopelessly from the mere suspicion of being loved by him, he was going to tie himself for life to the first who would marry him. That would never prevent the gossips from saying that he loved this other woman as much as ever. It could do her no great harm, since she took no interest whatever in him. Who could she be, this cold creature, whom even Giovanni could not move to interest? It was absurd—the letter was absurd—the whole thing was absurd! None but a madman would think of pursuing such a course; and why should he think it necessary to confide his plans—his very foolish plans—to her, Corona d'Astrardente,—why? Ah, Giovanni, how different things might have been!
Corona rose angrily from her seat and leaned against the broad chimney-piece, and looked at the clock—it was nearly mid-day. He might marry whom he pleased, and be welcome—what was it to her? He might marry and sacrifice himself if he pleased—what was it to her?
She thought of her own life. She, too, had sacrificed herself; she, too, had tied herself for life to a man she despised in her heart, and she had done it for an object she had thought good. She looked steadily at the clock, for she would not give way, nor bend her head and cry bitter tears again; but the tears were in her eyes, nevertheless.
"Giovanni, you must not do it—you must not do it!" Her lips formed the words without speaking them, and repeated the thought again and again. Her heart beat fast and her cheeks flushed darkly. She spread out the crumpled letter and read it once more. As she read, the most intense curiosity seized her to know who this woman might be whom Giovanni so loved; and with her curiosity there was a new feeling—an utterly hateful and hating passion—something so strong, that it suddenly dried her tears and sent the blood from her cheeks back to her heart. Her white hand was clenched, and her eyes were on fire. Ah, if she could only find that woman he loved! if she could only see her dead—dead with Giovanni Saracinesca there upon the floor before her! As she thought of it, she stamped her foot upon the thick carpet, and her face grew paler. She did not know what it was that she felt, but it completely overmastered her. Padre Filippo would be pleased, she thought, for she knew how in that moment she hated Giovanni Saracinesca.
With a sudden impulse she again sat down and opened the letter next to her hand. It was a gossiping epistle from a friend in Paris, full of stories of the day, exclamations upon fashion and all kinds of emptiness; she was about to throw it down impatiently and take up the next when her eyes caught Giovanni's name.
"Of course it is not true that Saracinesca is to marry Madame Mayer…" were the words she read. But that was all. There chanced to have been just room for the sentence at the foot of the page, and by the time her friend had turned over the leaf, she had already forgotten what she had written, and was running on with a different idea. It seemed as though Corona were haunted by Giovanni at every turn; but she had not reached the end yet, for one letter still remained. She tore open the envelope, and found that the contents consisted of a few lines penned in a small and irregular hand, without signature. There was an air of disguise about the whole, which was unpleasant; it was written upon a common sort of paper, and had come through the city post. It ran as follows:—
"The Duchessa d'Astrardente reminds us of the fable of the dog in the horse's manger, for she can neither eat herself nor let others eat. She will not accept Don Giovanni Saracinesca's devotion, but she effectually prevents him from fulfilling his engagements to others."
If Corona had been in her ordinary mood, she would very likely have laughed at the anonymous communication. She had formerly received more than one passionate declaration, not signed indeed, but accompanied always by some clue to the identity of the writer, and she had carelessly thrown them into the fire. But there was no such indication here whereby she might discover who it was who had undertaken to criticise her, to cast upon her so unjust an accusation. Moreover, she was very angry and altogether thrown out of her usually calm humour. Her first impulse was to go to her husband, and in the strength of her innocence to show him the letter. Then she laughed bitterly as she thought how the selfish old dandy would scoff at her sensitiveness, and how utterly incapable he would be of discovering the offender or of punishing the offence. Then again her face was grave, and she asked herself whether it was true that she was innocent; whether she were not really to be blamed, if perhaps she had really prevented Giovanni from marrying Donna Tullia.
But if that were true, she must herself be the woman he spoke of in his letter. Any other woman would have suspected as much. Corona went to the window, and for an instant there was a strange light of pleasure in her face. Then she grew very thoughtful, and her whole mood changed. She could not conceive it possible that Giovanni so loved her as to marry for her sake. Besides, no one could ever have breathed a word of him in connection with herself—until this abominable anonymous letter was written.
The thought that she might, after all, be the "person very dear to him," the one who "took no interest whatever in him," had nevertheless crossed her mind, and had given her for one moment a sense of wild and indescribable pleasure. Then she remembered what she had felt before; how angry, how utterly beside herself, she had been at the thought of another woman being loved by him, and she suddenly understood that she was jealous of her. The very thought revived in her the belief that it was not she herself who was thus influencing the life of Giovanni Saracinesca, but another, and she sat silent and pale.
Of course it was another! What had she done, what word had she spoken, whereby the world might pretend to believe that she controlled this man's actions? "Fulfilling his engagements," the letter said, too. It must have been written by an ignorant person—by some one who had no idea of what was passing, and who wrote at random, hoping to touch a sensitive chord, to do some harm, to inflict some pain, in petty vengeance for a fancied slight. But in her heart, though she crushed down the instinct, she would have believed the anonymous jest well founded, for the sake of believing, too, that Giovanni Saracinesca was ready to lay his life at her feet—although in that belief she would have felt that she was committing a mortal sin.
She went back to her interview that morning with Padre Filippo, and thought over all she had said and all he had answered; how she had been willing to admit the possibility of Giovanni's love, and how sternly the confessor had ruled down the clause, and told her there should never arise such a doubt in her mind; how she had scorned herself for being capable of seeking love where there was none, and how she had sworn that there should be no perhaps in the matter. It seemed very hard to do right, but she would try to see where the right lay. In the first place, she should burn the anonymous letter, and never condescend to think of it; and she should also burn Giovanni's, because it would be an injustice to him to keep it. She looked once more at the unsigned, ill-written page, and, with a little scornful laugh, threw it from where she sat into the fire with its envelope; then she took Giovanni's note, and would have done the same, but her hand trembled, and the crumpled bit of paper fell upon the hearth. She rose from her chair quickly, and took it up again, kneeling before the fire, like some beautiful dark priestess of old feeding the flames of a sacred altar. She smoothed the paper out once more, and once more read the even characters, and looked long at the signature, and back again to the writing.
"This lady, who, I confess, takes no interest whatever in me…."
"How could he say it!" she exclaimed aloud. "Oh, if I knew who she was!" With an impatient movement she thrust the letter among the coals, and watched the fire curl it and burn it, from white to brown and from brown to black, till it was all gone. Then she rose to her feet and left the room.
Her husband certainly did not guess that the Duchessa d'Astrardente had spent so eventful a morning; and if any one had told him that his wife had been through a dozen stages of emotion, he would have laughed, and would have told his informant that Corona was not of the sort who experience violent passions. That evening they went to the opera together, and the old man was in an unusually cheerful humour. A new coat had just arrived from Paris, and the padding had attained a higher degree of scientific perfection than heretofore. Corona also looked more beautiful than even her husband ever remembered to have seen her; she wore a perfectly simple gown of black satin without the smallest relief of colour, and upon her neck the famous Astrardente necklace of pearls, three strings of even thickness, each jewel exquisitely white and just lighted in its shadow by a delicate pink tinge—such a necklace as an empress might have worn. In the raven masses of her hair there was not the least ornament, nor did any flower enhance the rich blackness of its silken coils. It would be impossible to imagine greater simplicity than Corona showed in her dress, but it would be hard to conceive of any woman who possessed by virtue of severe beauty a more indubitable right to dispense with ornament.
The theatre was crowded. There was a performance of "Norma" for which several celebrated artists had been engaged—an occurrence so rare in Rome, that the theatre was absolutely full. The Astrardente box was upon the second tier, just where the amphitheatre began to curve. There was room in it for four or five persons to see the stage.
The Duchessa and her husband arrived in the middle of the first act, and remained alone until it was over. Corona was extremely fond of "Norma," and after she was seated never took her eyes from the stage. Astrardente, on the other hand, maintained his character as a man of no illusions, and swept the house with his small opera-glass. The instrument itself was like him, and would have been appropriate for a fine lady of the First Empire; it was of mother-of-pearl, made very small and light, the metal-work upon it heavily gilt and ornamented with turquoises. The old man glanced from time to time at the stage, and then again settled himself to the study of the audience, which interested him far more than the opera.
"Every human being you ever heard of is here," he remarked at the end of the first act. "Really I should think you would find it worth while to look at your magnificent fellow-creatures, my dear."
Corona looked slowly round the house. She had excellent eyes, and never used a glass. She saw the same faces she had seen for five years, the same occasional flash of beauty, the same average number of over-dressed women, the same paint, the same feathers, the same jewels. She saw opposite to her Madame Mayer, with the elderly countess whom she patronised for the sake of deafness, and found convenient as a sort of flying chaperon. The countess could not hear much of the music, but she was fond of the world and liked to be seen, and she could not hear at all what Del Ferice said in an undertone to Madame Mayer. Sufficient to her were the good things of the day; the rest was in no way her business. There was Valdarno in the club-box, with a knot of other men of his own stamp. There were the Rocca, mother and daughter and son—a boy of eighteen—and a couple of men in the back of the box. Everybody was there, as her husband had said; and as she dropped her glance toward the stalls, she was aware of Giovanni Saracinesca's black eyes looking anxiously up to her. A faint smile crossed her serene face, and almost involuntarily she nodded to him and then looked away. Many men were watching her, and bowed as she glanced at them, and she bent her head to each; but there was no smile for any save Giovanni, and when she looked again to where he had been standing with his back to the stage, he was gone from his place.
"They are the same old things," said Astrardente, "but they are still very amusing. Madame Mayer always seems to get the wrong man into her box. She would give all those diamonds to have Giovanni Saracinesca instead of that newsmonger fellow. If he comes here I will send him across."
"Perhaps she likes Del Ferice," suggested Corona.
"He is a good lapdog—a very good dog," answered her husband. "He cannot bite at all, and his bark is so soft that you would take it for the mewing of a kitten. He fetches and carries admirably."
"Those are good points, but not interesting ones. He is very tiresome with his eternal puns and insipid compliments, and his gossip."
"But he is so very harmless," answered Astrardente, with compassionate scorn. "He is incapable of doing an injury. Donna Tullia is wise in adopting him as her slave. She would not be so safe with Saracinesca, for instance. If you feel the need of an admirer, my dear, take Del Ferice. I have no objection to him."
"Why should I need admirers?" asked Corona, quietly.
"I was merely jesting, my love. Is not your own husband the greatest of your admirers, and your devoted slave into the bargain?" Old Astrardente's face twisted itself into the semblance of a smile, as he leaned towards his young wife, lowering his cracked voice to a thin whisper. He was genuinely in love with her, and lost no opportunity of telling her so. She smiled a little wearily.
"You are very good to me," she said. She had often wondered how it was that this aged creature, who had never been faithful to any attachment in his life for five months, did really seem to love her just as he had done for five years. It was perhaps the greatest triumph she could have attained, though she never thought of it in that light; but though she could not respect her husband very much, she could not think unkindly of him—for, as she said, he was very good to her. She often reproached herself because he wearied her; she believed that she should have taken more pleasure in his admiration.
"I cannot help being good to you, my angel," he said. "How could I be otherwise? Do I not love you most passionately?"
"Indeed, I think so," Corona answered. As she spoke there was a knock at the door. Her heart leaped wildly, and she turned a little pale.
"The devil seize these visitors!" muttered old Astrardente, annoyed beyond measure at being interrupted when making love to his wife. "I suppose we must let them in?"
"I suppose so," assented the Duchessa, with forced calm. Her husband opened the door, and Giovanni Saracinesca entered, hat in hand.
"Sit down," said Astrardente, rather harshly.
"I trust I am not disturbing you," replied Giovanni, still standing. He was somewhat surprised at the old man's inhospitable tone.
"Oh no; not in the least," said the latter, quickly regaining his composure. "Pray sit down; the act will begin in a moment."
Giovanni established himself upon the chair immediately behind the Duchessa. He had come to talk, and he anticipated that during the second act he would have an excellent opportunity.
"I hear you enjoyed yourselves yesterday," said Corona, turning her head so as to speak more easily.
"Indeed!" Giovanni answered, and a shade of annoyance crossed his face."And who was your informant, Duchessa?"
"Donna Tullia. I met her this morning. She said you amused them all—kept them laughing the whole day."
"What an extraordinary statement!" exclaimed Giovanni. "It shows how one may unconsciously furnish matter for mirth. I do not recollect having talked much to any one. It was a noisy party enough, however."
"Perhaps Donna Tullia spoke ironically," suggested Corona. "Do you like'Norma'?"
"Oh yes; one opera is as good as another. There goes the curtain."
The act began, and for some minutes no one in the box spoke. Presently there was a burst of orchestral music. Giovanni leaned forward so that his face was close behind Corona. He could speak without being heard by Astrardente.
"Did you receive my letter?" he asked. Corona made an almost imperceptible inclination of her head, but did not speak.
"Do you understand my position?" he asked again. He could not see her face, and for some seconds she made no sign; at last she moved her head again, but this time to express a negative.
"It is simple enough, it seems to me," said Giovanni, bending his brows.
Corona found that by turning a little she could still look at the stage, and at the same time speak to the man behind her.
"How can I judge?" she said. "You have not told me all. Why do you ask me to judge whether you are right?"
"I could not do it if you thought me wrong," he answered shortly.
The Duchessa suddenly thought of that other woman for whom the man who asked her advice was willing to sacrifice his life.
"You attach an astonishing degree of importance to my opinion," she said very coldly, and turned her head from him.
"There is no one so well able to give an opinion," said Giovanni, insisting.
Corona was offended. She interpreted the speech to mean that since she had sacrificed her life to the old man on the opposite side of the box, she was able to judge whether Giovanni would do wisely in making a marriage of convenience, for the sake of an end which even to her mind seemed visionary. She turned quickly upon him, and there was an angry gleam in her eyes.
"Pray do not introduce the subject of my life," she said haughtily.
Giovanni was too much astonished to answer her at once. He had indeed not intended the least reference to her marriage.
"You have entirely misunderstood me," he said presently.
"Then you must express yourself more clearly," she replied. She would have felt very guilty to be thus talking to Giovanni, as she would not have talked before her husband, had she not felt that it was upon Giovanni's business, and that the matter discussed in no way concerned herself. As for Saracinesca, he was in a dangerous position, and was rapidly losing his self-control. He was too near to her, his heart was bearing too fast, the blood was throbbing in his temples, and he was stung by being misunderstood.
"It is not possible for me to express myself more clearly," he answered."I am suffering for having told you too little when I dare not tell youall. I make no reference to your marriage when I speak to you of my own.Forgive me; I will not refer to the matter again."
Corona felt again that strange thrill, half of pain, half of pleasure, and the lights of the theatre seemed moving before her uncertainly, as things look when one falls from a height. Almost unconsciously she spoke, hardly knowing that she turned her head, and that her dark eyes rested upon Giovanni's pale face.
"And yet there must be some reason why you tell me that little, and why you do not tell me more." When she had spoken, she would have given all the world to have taken back her words. It was too late. Giovanni answered in a low thick voice that sounded as though he were choking, his face grew white, and his teeth seemed almost to chatter as though he were cold, but his eyes shone like black stars in the shadow of the box.
"There is every reason. You are the woman I love."
Corona did not move for several seconds, as though not comprehending what he had said. Then she suddenly shivered, and her eyelids drooped as she leaned back in her chair. Her fingers relaxed their tight hold upon her fan, and the thing fell rattling upon the floor of the box.
Old Astrardente, who had taken no notice of the pair, being annoyed at Giovanni's visit, and much interested in the proceedings of Madame Mayer in the box opposite, heard the noise, and stooped with considerable alacrity to pick up the fan which lay at his feet.
"You are not well, my love," he said quickly, as he observed his wife's unusual pallor.
"It is nothing; it will pass," she murmured, with a terrible effort. Then, as though she had not said enough, she added, "There must be a draught here; I have a chill."
Giovanni had sat like a statue, utterly overcome by the sense of his own folly and rashness, as well as by the shock of having so miserably failed to keep the secret he dreaded to reveal. On hearing Corona's voice, he rose suddenly, as from a dream.
"Forgive me," he said hurriedly, "I have just remembered a most important engagement—"
"Do not mention it," said Astrardente, sourly. Giovanni bowed to theDuchessa and left the box. She did not look at him as he went away.
"We had better go home, my angel," said the old man. "You have got a bad chill."
"Oh no, I would rather stay. It is nothing, and the best part of the opera is to come." Corona spoke quietly enough. Her strong nerves had already recovered from the shock she had experienced, and she could command her voice. She did not want to go home; on the contrary, the brilliant lights and the music served for a time to soothe her. If there had been a ball that night she would have gone to it; she would have done anything that would take her thoughts from herself. Her husband looked at her curiously. The suspicion crossed his mind that Don Giovanni had said something which had either frightened or offended her, but on second thoughts the theory seemed absurd. He regarded Saracinesca as little more than a mere acquaintance of his wife's.
"As you please, my love," he answered, drawing his chair a little nearer to hers. "I am glad that fellow is gone. We can talk at our ease now."
"Yes; I am glad he is gone. We can talk now," repeated Corona, mechanically.
"I thought his excuse slightly conventional, to say the least of it," remarked Astrardente. "An important engagement!—just a littlebanal. However, any excuse was good enough which took him away."
"Did he say that?" asked Corona. "I did not hear. Of course, any excuse would do, as you say."